Analysis of musical works. Analysis of a musical work: an example, theoretical foundations, analysis technique A complete analysis of a musical form using an example

Holistic analysis of a musical work

on the example of Rondo from Sonata h – moll by F.E. Bach

Plan for analyzing the form of a musical work

A. General preview

1) Type of form (simple three-part, sonata, etc.)

2) Digital scheme of the form in large outline, with letter designations of topics (parts) and their names (I period, development, etc.)

B. Analysis of each of the main parts

1) The function of each part in the form (I period, middle, etc.)

2) Type of presentation (exposition, middle, etc.)

3) Thematic composition, its uniformity or contrast; its character and the means of achieving that character

4) What elements are being developed; ways of development (repetition, variation, comparison, etc.); thematic transformations

5) Place of culmination, if any; the ways in which it is attained and abandoned.

6) Tonal structure, cadences, their correlation, closedness or openness.

7) Detailed digital diagram; characteristics of the structure, the most important points of summation and crushing; "breath" short or wide; aspect ratio.

The structure of this rondo is as follows:

R EP1 EP2 R EP3 R R EP4 R EP5 R EP1

4t.+ 4t. 8t. 4t. 4t. 4t. 4t. 4t. 4t. 4t. 8t. 4t.+4t. 8t.

period period period period period period period period

With extension

Exposition Development Reprise

Where R is a refrain, EP is an episode, the numbers indicate the number of measures of each section. The composer is rather free with the form. The refrain is actively developing, transposing into various keys with multiple repetitions. There are variable changes in the refrain, a variety of its cadences.

The melody of the refrain and episodes is homogeneous, not contrasting. It is distinguished by flexibility, whimsical rhythmic and intonation, which is achieved with the help of tied notes, syncopations, small durations, mordents and other melismas, the beginning of phrases from the beat, from a weak beat after the sixteenth pause. The melodic pattern combines progressive movement, jumps at various intervals, semitone gravitation.

The bass line does not carry a melodic and semantic load, but is mainly a downward progressive movement in quarter durations. His role (bass) is the harmonic support of the melody.

In general, the structure of the rondo in B minor can be compared with sections of the sonata form: exposition (bars 1 - 16), development (bars 17 - 52) and reprise (bars 53 - 67). Moreover, the musical material of the reprise completely and without changes repeats the material of the exposition.

"Exposition" is a kind of two-part form, where part 1 (refrain) is the period of a square structure. The first sentence ends with a half cadence on the dominant, the second with a full cadence. The second part of the two-part form (episode 1) is also a period of two sentences that end with half and full cadences, respectively.

In the second section of the rondo, the so-called "development", the refrain sounds in the following keys: D - dur (21 - 24 measures), h - moll (29 - 32 measures), G - dur (33 - 36 measures), e moll ( 41 - 44 bars). The major holding of the refrain (bars 33-36) leads to a climax on the forte dynamics. This is followed by an exit from the climax at bars 37–40. Here the composer used the technique of sequential development - a descending sequence of three links. By the way, in the climax, the usually stepwise movement of the bass changes to a spasmodic, quarto-fifth. The line of the lower voice here harmoniously supports the sequential development of the melody.

In connection with the peculiarities of the structure of the form, I would also like to note EP5 (fifth episode), where the expansion of the sentence in 47 - 52 measures occurs due to the improvisational development of the melody on the sustained "organ" bass at the seventh degree of the main key. This technique smoothly leads to the expected denouement - the so-called "reprise". Musical material 53 - 68 bars completely repeat the sound of the first refrain and the first episode. Such a return of the theme, as it were, frames the musical form of this work as a whole, leads to its logical conclusion, drawing a semantic and intonational arch between the beginning and the end.

In general, the rondo from the sonata in B minor is a classic implementation of the rondo form in the work of C.F.E. Bach.

As an example for harmonic analysis, we propose to consider a fragment of Waltz P.I. Tchaikovsky from Serenade for string orchestra:

Moderato. Tempo di Valse

Before performing a fragment on a musical instrument, you should pay attention to the tempo indications, and then play this fragment at a moderate waltz tempo.

It should be pointed out that the nature of the music is distinguished by danceability, light romantic coloring, which is due to the genre of the musical fragment, the roundness of the four-bar phrases, the smoothness of the rising with graceful leaps and the wave-like movement of the melody, which is carried out mainly by even quarter and half durations.

It should be noted that all this is quite consistent with the romantic style of music of the second half of the 19th century, when P.I. Tchaikovsky (1840 - 1893). It was this era that brought great popularity to the waltz genre, which at that time penetrates even into such large works as symphonies. In this case, this genre is presented in a concerto for string orchestra.

In general, the analyzed fragment is a period consisting of 20 measures and extended in the second sentence (8+8+4=20). The homophonic-harmonic texture was chosen by the composer in full accordance with the already designated genre, so the expressive meaning of the melody comes to the fore. However, harmony not only performs functional support, but is also a means of shaping and development. The general direction of development in this completed construction is largely determined by its tonal plan.

First offer tonally stable ( G-dur), consists of two square four-bar phrases and ends on the dominant of the main key:

T - - TDD2T - - T - - T D T 4 6 T 6 - -

D D 7 - D9

In harmony, only authentic tonic-dominant turns are used, affirming the main tonality. G-dur.

The second sentence (bars 8–20) is a single indivisible long phrase of 8 bars, to which a four-bar addition is added, which arises as a result of an internal saturated tonal movement. In the second half of the second sentence, there is a deviation into the key of the dominant (bars 12–15):

7 8 9 10 11 (D major) 12

D D 7 D 9 D T T 2 S 6 S 5 6 S 6 D 5 6 - - T=S - - #1 DD 5 6

13 14 15 16 17 18 19 20

K 4 6 - - D 2 T 6 ( D major) S - - K 4 6 - - D7 - - T - - T

Scheme of harmonic development the analyzed musical fragment will look like this:

1 2 3 V 4 5 6 7 V 8 910

3/4 T T - | DD 2 - - | T T - | T - - | T D T | T 6 - - | D D 7 - | D 9 D T 6 | S 6 VI S 6 | D 6 5 - -|

11 12 13 14 15 V 16 17 18 19 20

| T - - | #1 D 6 5 k A major| K 6 4 - - | D 2 k D major| T 6 ( D major) | S - - | K 4 6 - -| D 7 - - | T - - | T ||

Deviation (bars 12–15) is done by introducing a cadence preceded by a common chord (T=S) and a double dominant in the form #1 D 7 k A major, but it is not resolved, but goes into a cadence quarter-sext chord, D 2 with resolution in T 6 of the new key ( D major).

The modulation prepared by the digression repeats the cadence turnover that was already used in the digression, but the construction ends differently - with the final full authentic perfect cadence, in contrast to the authentic imperfect cadence in the digression and the half authentic imperfect cadence at the end of the first sentence.

Thus, it should be noted that the entire development of the harmonic vertical in this fragment plays a formative role and corresponds to the general direction of the development of the musical image. It is no coincidence that the culmination of the whole theme falls on the most tense moment (bar 19). In melody, it is emphasized by an upward jump to the seventh, in harmony - by the dominant seventh chord, followed by its resolution to the tonic as the completion of the musical thought.

Some questions of harmonic analysis

1. Significance of harmonic analysis.

Harmonic analysis makes it easier to establish and maintain a direct connection with live musical creativity; helps to realize that the techniques and norms of voice leading recommended in harmony are not only educational and training, but also artistic and aesthetic; provides quite specific and varied material for demonstrating the basic methods of voice leading and the most important laws of harmonic development; helps to learn the main features of the harmonic language and individual outstanding composers and entire schools (directions); convincingly shows the historical evolution in the methods and norms of using these chords, revolutions, cadences, modulations, etc.; brings you closer to being guided in the style norms of the harmonic language; leads, ultimately, to an understanding of the general nature of music, brings it closer to the content (within the limits that are available to harmony).

2. Types of harmonic analysis.

a) the ability to correctly and accurately explain a given harmonic fact (chord, voicing, cadence);

b) the ability to understand and harmonically generalize this passage (the logic of functional movement, the relationship of cadences, the definition of tonality, the interdependence of melody and harmony, etc.);

c) the ability to connect all the essential features of the harmonic warehouse with the nature of the music, with the development of the form and with the individual characteristics of the harmonic language of a given work, composer or a whole trend (school).

3. Basic methods of harmonic analysis.

1. Determining the main key of a given piece of music (or its passage); to find out all other keys that appear in the process of development of this work (sometimes this task is somewhat removed).

Determining the main key is not always a fairly elementary task, as one might assume at first glance. Not all pieces of music begin with the tonic; sometimes with D, S, DD, "Neapolitan harmony", from an organ point to D, etc., or a whole group of harmonies of a non-tonic function (see R. Schumann, op. 23 No. 4; Chopin, Prelude No. 2, etc. .). In more rare cases, the work even begins immediately with a deviation (L. Beethoven, "Moonlight Sonata", part II; 1st symphony, part I; F. Chopin, Mazurka in E minor, op. 41 No. 2, etc.). d.). In some works, the tonality is shown quite difficult (L. Beethoven, sonata in C major, op. 53, part II) or the appearance of the tonic is delayed for a very long time (F. Chopin, prelude in A-flat major, op. 17; A. Scriabin, prelude in A minor, op. 11 and E major, op. 11; S. Taneyev, cantata "After reading the psalm" - beginning; piano quartet, op. 30 - introduction, etc.). In special cases, in harmony, a clear, distinct attraction to the tonic of a given key is given, but in essence all functions are shown, except for the tonic (for example, R. Wagner, the introduction to the opera "Tristan and Isolde" and the death of Isolde; N. Rimsky-Korsakov, the beginning overture to "May Night"; P. Tchaikovsky, "I bless you, forests", beginning; A. Lyadov "Sorrowful Song"; S. Rachmaninov, 3rd concerto for piano, part II; S. Lyapunov, romances op. 51; A. Scriabin, prelude op. 11 No. 2). Finally, in many classical arrangements of Russian songs, sometimes the key designation of tonality goes beyond traditional norms and follows the specifics of the mode, why, for example, Dorian G minor can have one flat in the designation, Phrygian F-sharp minor - two sharps, Mixolydian G major is written without any signs, etc.

Note. These features of the key designation are also found in other composers who appeal to the materials of folk art (E. Grieg, B. Bartok, etc.).

Having found out the main key and then other keys that appear in this work, they determine the general tonal plan and its functional features. The definition of the tonal plan creates a prerequisite for understanding the logic in the sequence of keys, which is especially important in large-scale works.

The definition of the main key, of course, is combined with the simultaneous characterization of the mode, the general modal structure, since these phenomena are organically interconnected. Particular difficulties, however, arise when analyzing samples with a complex, synthetic type, modal basis (for example, R Wagner, introduction to Act II of "Parsifal", "Dreams", R Schumann, "Grillen", N Rimsky-Korsakov, "Sadko" , 2nd scene, excerpts from "Kashchei"; S Prokofiev, "Sarcasms", etc.), or when changing the mode or key at the end of the work (for example, M Balakirev, "Whisper, timid breathing"; F Liszt, "Spanish Rhapsody "; F Chopin, ballad No. 2, G Wolf, "The moon rose very gloomy today"; F Chopin, mazurkas D-flat major, B minor, op.30; And Brahms, Rhapsody E-flat major; S Taneyev, "Minuet "etc.) Such changes in either mode or tonality must be explained as far as possible, their regularity or logic must be understood in connection with the general or development of a given work, or in connection with the content of the text.

2. The next point in the analysis is cadences: the types of cadences are studied and determined, their relationship is established in the presentation and development of the work. It is most expedient to begin such a study with an initial, expositional construction (usually a period); but this should not be limited.

When the analyzed work goes beyond the period (the theme of variations, the main part of the rondo, independent two- or three-part forms, etc.), it is necessary not only to determine the cadenzas in the reprise construction, but also to compare them harmoniously with the expositional part. This will help to understand how cadences can generally be differentiated to emphasize stability or instability, complete or partial completeness, connection or delimitation of constructions, as well as to enrich harmony, change the nature of music, etc.

If there is a clear middle (link) in the work, then it is obligatory established by what harmonic means the instability characteristic of the middles is supported (such as: emphasis on half cadences, stop on D, organ point on D or tonal unstable sequences, interrupted cadences, etc.). P.).

Thus, this or that independent study of cadences must necessarily be combined with consideration of their role in harmonious development (dynamics) and form formation. For conclusions, it is essential to pay attention both to the individual harmonic features of the theme (or themes) itself and to the specifics of its modal-functional structure (for example, it is necessary to specifically take into account the features of major, minor, variable mode, major-minor, etc.), since all these harmonic moments are closely linked and interdependent. Such linkage is of the greatest importance in the analysis of works of large form, with a contrasting ratio of its parts and themes and their harmonic presentation.

3. Then it is desirable to focus attention in the analysis on the simplest moments of coordination (subordination) of melodic and harmonic development.

To do this, the main melody-theme (initially within the framework of the period) is analyzed structurally independently, unanimously - its character, dissection, completeness, functional pattern, etc. are determined. Then it is revealed how these structural and expressive qualities of the melody are reinforced by harmony. Particular attention should be paid to the climax in the development of the theme and its harmonic design. Recall that, for example, in the Viennese classics, the climax usually falls on the second sentence of the period and is associated with the first appearance of the subdominant chord (this enhances the brightness of the climax) (see L Beethoven, Largo appassionato from the sonata op. 2 No. 2, II part from the sonata op. .22, theme of the finale of the Pathetique Sonata, op.13, etc.).

In other, more complex cases, when the subdominant is somehow shown even in the first sentence, the climax, in order to increase the overall tension, is harmonized differently (for example, DD, S and DVII7 with a bright delay, Neapolitan chord, III low, etc.). For example, let us refer to the famous Largo e mesto from Beethoven's sonata in D major, op. 10, No. 3, in which the climax of the theme (in the period) is given on a bright consonance DD. Without explanation, it is clear that such a design of the climax is also preserved in works or sections of a larger form (see L. Beethoven, indicated by Largo appassionato from sonata op. 2 No. 2 - a two-part construction of the main theme, or the deepest Adagio - II part from sonata L Beethoven in D minor, op.31 No. 2)
It is natural that such a bright, harmonically convex interpretation of culminations (both main and local) by continuity passed into the creative traditions of subsequent masters (R. Schumann, F. Chopin, P. Tchaikovsky, S. Taneyev, S. Rachmaninov) and provided many magnificent samples (see the amazing apotheosis of love in the conclusion of the 2nd picture of "Eugene Onegin" by P. Tchaikovsky, a side theme from the finale of the 6th symphony of P. Tchaikovsky, the end of the first act of "The Tsar's Bride" by N.R. -K o r s a ko in a Ypres.).
4. In a detailed harmonic analysis of a given chord sequence (at least within a simple period), it is necessary to fully understand what chords are given here, in what inversions, in what alternation, doubling, at what enrichment with non-chord dissonances, etc. At the same time, it is desirable to generalize how early and often the tonic is shown, how widely unstable functions are presented, with what gradualness and regularity the change of chords (functions) takes place, which is accentuated in the display of various modes and keys.
Of course, here it is also important to consider voice leading, that is, to check and realize the melodic meaningfulness and expressiveness in the movement of individual voices; understand - for example - the features of the location and doubling of consonances (see the romance of N. Medtner, "Whisper, timid breathing" - the middle); explain why full, polyphonic chords are suddenly replaced by unison (L. Beethoven, sonata op. 26, “Funeral March”); why the three-voice systematically alternates with the four-voice (L. Beethoven, Moonlight Sonata, op. 27 No. 2, part II); what is the reason for the register transfer of the theme (L. Beethoven, sonata in F major, op. 54, h, I, etc.).
In-depth attention to voicing will help students to feel and understand the beauty and naturalness of any combination of chords in the works of the classics and develop a demanding taste for voicing, because outside of voicing, music - in essence - is not created. With such attention to voicing, it is useful to follow the movement of the bass: it can either move in jumps along the main sounds of chords (“fundamental basses”), or more smoothly, melodicly, both diatonically and chromatically; the bass can also intotone more thematically significant turns (general, complementary and contrasting). All this is very important for harmonic presentation.
5. In harmonic analysis, register features are also noted, that is, the choice of one register or another, associated with the general nature of this work. Although the register is not a purely harmonic concept, the register has a serious impact on the general harmonic norms or methods of presentation. It is known that chords in high and low registers are arranged and doubled differently, that sustained sounds in middle voices are used more limitedly than in bass, that register “breaks” in the presentation of chords are undesirable (“ugly”) in general, that methods for resolving dissonances change somewhat during register changes. It is clear that the choice and preferential use of a certain register is connected primarily with the nature of a musical work, its genre, tempo, and intended texture. Therefore, in works that are small and mobile, such as the scherzo, humoresque, fairy tale, caprice, one can see the predominance of the middle and high registers and, in general, observe a freer and more varied use of different registers, sometimes with bright shifts (see L. Beethoven, scherzo from the sonata op. 2 No. 2 - the main theme). In works such as elegy, romance, song, nocturne, funeral march, serenade, etc., register colors are usually more limited and rely more often on the middle, most melodious and expressive register (L. Beethoven, II part of the Pathetique Sonata; R Schumann, middle part in "Intermezzo" of the piano concerto; R. Gliere, Concerto for voice and orchestra, part I; P. Tchaikovsky, Andantecantabile.op.il).
For everyone, it is obvious that it is impossible to transfer music like A. Lyadov’s “Musical Snuffbox” into the low register or, conversely, into the upper register of music like L. Beethoven’s “Funeral March” from the sonata op. 26 - without sharp and absurd distortions of the images and character of the music. This provision should determine the real importance and effectiveness of taking into account register features in harmonic analysis (let's name a number of useful examples - L. Beethoven, sonata "Appassionata", part II; F. Chopin, scherzo from the sonata in B-flat minor; E. Grieg, scherzo in E minor, op.54, A. Borodin, “At the monastery”, F. Liszt, “Funeral procession”). Sometimes, in order to repeat a given theme or passage of it, bold register jumps (“flipping”) are introduced into those sections of the form where previously there was only smooth movement. Typically, such a register-varied presentation takes on the character of a joke, scherzo or provocativeness, which, for example, can be seen in the last five bars of Andante from the Sonata in G Major (No. 10) by L. Beethoven.
6. In analysis, one cannot ignore the question of the frequency of changes of harmonies (in other words, of harmonic pulsation). Harmonic pulsation largely determines the general rhythmic sequence of harmonies or the type of harmonic movement characteristic of a given work. First of all, the harmonic pulsation is determined by the nature, tempo and genre of the analyzed musical work.
Usually, at a slow tempo, the harmonies change on any (even the weakest) beats of the bar, rely less clearly on the metro rhythm and give more scope to the melody, cantilena. In some cases, with rare changes in harmony in pieces of the same slow movement, the melody acquires a special pattern, freedom of presentation, even recitativity (see F. Chopin, nocturnes in B-flat minor, F-sharp major).
Fast-tempo pieces usually give a change of harmonies on strong beats of a measure, while in some examples of dance music, the harmonies change only in each measure, and sometimes even after two measures or more (waltzes, mazurkas). If a very fast melody is accompanied by a change of harmonies on almost every sound, then here only some harmonies acquire an independent meaning, while others should be considered rather as passing or auxiliary harmonies (L. Beethoven, trio from the scherzo in A major in the sonata op 2 No. 2, P Schumann, "Symphonic etudes", variation-etude No. 9).
The study of harmonic pulsation brings us closer to understanding the main features of accentuation of live musical speech and live performance. In addition, various changes in harmonic pulsation (its slowdown, acceleration) can be easily associated with issues of form development, harmonic variation or general dynamization of harmonic presentation.
7. The next moment of analysis is non-chord sounds both in the melody and in the accompanying voices. The types of non-chord sounds, their interrelation, methods of voice leading, features of melodic and rhythmic contrast, dialogic (duet) forms in harmonic presentation, enrichment of harmonies, etc. are determined.
Special consideration deserves the dynamic and expressive qualities that non-chord dissonances bring to harmonic presentation.
Since the most expressive of the non-chord sounds are the delays, so much attention is paid to them.
When analyzing diverse patterns of retentions, it is necessary to carefully determine their meter-rhythmic conditions, interval environment, brightness of functional conflict, register, their location in relation to melodic movement (climax) and expressive properties (see, for example, P. Tchaikovsky, Lensky’s arioso “How happy” and the beginning of the second scene of the opera "Eugene Onegin", the finale of the 6th symphony - in D major).

When analyzing harmonic sequences with passing and auxiliary sounds, students pay attention to their melodic role, the need to resolve the “accompanying” dissonances that form here, the possibility of enriching harmony with “random” (and altered) combinations on weak beats of the measure, conflicts with delays, etc. (see R. Wagner, introduction to "Tristan"; P. Tchaikovsky, Triquet's couplets from the opera "Eugene Onegin"; duet of Oksana and Solokha from "Cherevichki"; theme of love from "The Queen of Spades"; S. Taneyev, symphony in C minor, II part).
The expressive qualities brought into harmony by non-chord sounds acquire a special naturalness and liveliness in the so-called "duet" forms of presentation. Let us refer to several samples: L. Beethoven, Largo appassionato from the sonata op. 2 No. 2, Andante from Sonata No. 10, 2nd movement (and in it the second variation); P. Tchaikovsky, nocturne in C-sharp minor (reprise); E. Grieg, "Anitra's Dance" (reprise), etc.
When considering samples of the use of non-chord sounds of all categories in simultaneous sounding, their important role is emphasized in harmonic variation, in enhancing the cantileverness and expressiveness of the general voice leading and in maintaining thematic richness and integrity in the line of each of the voices (see Oksana's aria in A minor from the fourth act of the opera N. Rimsky-Korsakov "The Night Before Christmas").
8. Difficult in harmonic analysis is the question of changing keys (modulation). The logic of the general process of modulation can also be analyzed here, otherwise - the logic in the functional sequence of changing keys, and the general tonal plan, and its modal-constructive properties (recall the concept of S.I. Taneev about the tonal basis).
In addition, it is desirable to understand on specific samples the difference between modulation from deviation and from matching tonalities (in other words, a tonal jump). Here it is also useful to clarify the specifics of “comparison with the result”, using the term of B. L. Yavorsky (we will indicate examples: many connecting parts in the sonata expositions of W. Mozart and early L. Beethoven; F. Chopin’s scherzo in B-flat minor, exceptionally convincing preparation of E major at the conclusion of the second scene of The Queen of Spades by P. Tchaikovsky).
The analysis must then truly substantiate the characteristic type of deviation inherent in the various sections of the musical work. The study of the actual modulations should show the typical features of the exposition constructions, the characteristic features of the modulation in the middles and developments (usually the most distant and free) and in the reprises (here they are sometimes distant, but within the framework of a broadly interpreted subdominant function).

It is very interesting and useful in the analysis to understand the general dynamics of the modulation process, when it is rather convexly outlined. Usually the whole process of modulation can be divided into two parts, different in length and tension - leaving a given key and returning to it (sometimes also to the main key of the piece).
If the first half of the modulation is longer in scale, then it is also simpler in terms of harmony (see the modulation from A-flat to D in the "Funeral March" from the sonata op. 26 by L. Beethoven or the modulation from A to G-sharp , from L. Beethoven's scherzo in sonata op. 2 No. 2). It is natural that the second half in such cases is made very concise, but more complex in harmonic terms (see further sections in the above examples - the return from D to A flat and from G sharp to A, as well as the second part of the Pathetic Sonata » L. Beethoven - transition to Mi and return to A-flat).
In principle, this type of modulation process - from simpler to complex, but concentrated - is the most natural and integral and interesting for perception. However, occasionally there are also opposite cases - from short, but complex (in the first half of the modulation) to simple, but more detailed (second half). See the corresponding sample - development in L. Beethoven's sonata in D minor, op. 31 (I part).
In this approach to modulation as a special integral process, it is essential to note the place and role of enharmonic modulations: they, as a rule, appear more often precisely in the second, effective part of the modulation process. The brevity inherent in enharmonic modulation with some harmonic complexity is especially appropriate and effective here (see the above samples).
In general, when analyzing enharmonic modulation, it is useful to clarify for yourself its following role in each specific case: whether it simplifies the functional connection of distant keys (the norm for the classics) or complicates the connection of close keys (F. Chopin, Trio from Impromptu in A flat major; F Liszt, "William Tell Chapel") and a single-tone whole (see R. Schumann, "Butterflies", op. 2 No. 1; F. Chopin, mazurka in F minor, op. 68, etc.).
When considering modulations, it is necessary to touch upon the question of how the display of individual keys in a given work can harmonically differ if they are more or less extended in time and, therefore, independent in meaning.

For the composer and the work, not only the thematic, tonal, tempo and textural contrast in adjacent constructions is important, but also the individualization of harmonic means and techniques when showing one or another key. For example, in the first key, chords of a tertian, soft in gravity ratio are given, in the second - more complex and functionally intense sequences; or in the first - a bright diatonic, in the second - a complex chromatic major-minor basis, etc. It is clear that all this enhances the contrast of the images, the bulge of the sections, and the dynamism of the overall musical and harmonic development. See some samples: L. Beethoven. "Moonlight Sonata", finale, harmonic warehouse of the main and side parts; sonata "Aurora", op. 53, exposition of part I; F. Liszt, the song “Mountains all encompasses peace”, “E major; P. Tchaikovsky -6th symphony, finale; F. Chopin, sonata in B-flat minor.
The cases when almost the same harmonic sequences are repeated in different keys are rarer and always individual (see, for example, F. Chopin's mazurka in D major, op. harmonies in both D major and A major are sustained in identical forms).
When analyzing samples for various cases of comparing keys, it is advisable to emphasize two points: 1) the delimiting significance of this technique for adjacent sections of a musical work and 2) its interesting role in a kind of "acceleration" of the modulation process, and the techniques of such "acceleration" are differentiated somehow and according to signs of style and are included in the process of harmonic development.
9. Features of development or dynamics in the harmonic language are prominently emphasized by harmonic variation.
Harmonic variation is a very important and lively technique, showing the great importance and flexibility of harmony for the development of thought, for enriching images, enlarging the form, and revealing the individual qualities of a given work. In the process of analysis, it is necessary to especially note the role of harmonic ingenuity in the skillful application of such variation in its formative quality.
Harmonic variation, applied on time and technically complete, can contribute to the unification of several musical constructions into a larger whole (see, for example, a similar interesting variation of harmonies in the ostinato two-bar in the mazurka in B minor, op. 30 by F. Chopin) and enrich the reprise of the work (W. Mozart, "Turkish March"; R. Schumann, "Album Leaf" in F sharp minor, op. 99; F. Chopin, Mazurka in C sharp minor, op. 63 No. 3 or N. Medtner, "The Tale in F minor, op. 26).
Often, with such harmonic variation, the melody changes somewhat and repeats here, which usually contributes to a more natural and vivid appearance of “harmonic news”. One can point to at least Kupava's aria from the opera "Snow Maiden" by N. Rimsky-Korsakov - "Spring Time", in G-sharp minor, and the harmonic (more precisely, enharmonic) version of the theme "The frisky boy" in F. Liszt's fantasy on themes opera "The Marriage of Figaro" by W. Mozart.

10. Analysis of samples with altered chords (consonances) of various structure and complexity can be directed to the following goals and points:
1) it is desirable, if possible, to show students how these altered chords are emancipated from the chromatic non-chord sounds that served as their undoubted source;
2) it is useful to compile a detailed list of all altered chords of various functions (D, DD, S, secondary D) with their preparation and resolution, which are in circulation in the music of the 19th-20th centuries (based on specific samples);
3) consider how alterations can complicate the sound and functional nature of chords of mode and tonality, how they affect voice leading;
4) show what new varieties of cadences the alteration creates (the samples must be written out);
5) pay attention to the fact that complex types of alteration introduce new moments into the understanding of the stability and instability of the mode, tonality (N. Rimsky-Korsakov, "Sadko", "Kashchei"; A. Skryabin, preludes op. 33, 45, 69; N. Myaskovsky, “Yellowed Pages”);
6) to show that altered chords - with their brilliance and coloring - do not annul harmonic gravitation, but perhaps amplify it melodically (special resolution of altered sounds, free doublings, bold jumps to chromatic intervals when moving and resolving);
7) pay attention to the connection of alterations with major-minor modes (systems) and the role of altered chords in enharmonic modulation.

4. Generalizations of data from harmonic analysis

Synthesizing and summarizing all the essential observations and, in part, the conclusions obtained as a result of the analysis of individual methods of harmonic writing, it is most expedient to then focus the attention of students again on the problem of harmonic development (dynamics), but in a more special and comprehensive understanding of it in accordance with the data of the analysis of the components of harmonic letters.
In order to understand the process of harmonic movement and development more clearly and visually, it is necessary to weigh all the moments of harmonic presentation that can create the prerequisites for movement with its ups and downs. In this aspect of consideration, everything should be taken into account: changes in the chord structure, functional routine, voice leading; specific cadence turns are taken into account in their alternation and syntactic connection; harmonic phenomena are coordinated to the best of their ability with melody and metrorhythm; the effects introduced into the harmony by non-chord sounds in different parts of the work (before the climax, on it and after it) are noted; enrichments and changes resulting from tonal changes, harmonic variation, the appearance of organ points, changes in harmonic pulsation, texture, etc. are also taken into account. In the end, a more or less clear and reliable picture of this development is obtained, which is achieved by means of homophonic-harmonic writing in its broader sense and taking into account the joint action of individual elements of musical speech (and the general character of music as a whole).

5. Stylistic moments in analysis

After such a more or less comprehensive harmonic analysis, it is essentially not difficult to link its conclusions and generalizations with the general content of a given musical work, its genre features and certain harmonic-stylistic qualities (and they show a connection with a specific historical era, one or another creative direction , creative person, etc.). It is clear that such linking is given on a limited scale and within the limits real for harmony.
On the paths that lead students to such at least a general stylistic understanding of harmonic phenomena, it is desirable (as experience shows) to have special additional analytical tasks (exercises, training). Their goal is to develop harmonious attention, observation and broaden the general outlook of students.
We will give a preliminary and purely indicative list of such possible tasks in the analytical part of the harmony course:
1) Very useful are simple excursions into the history of the development or practical application of individual harmonic techniques (for example, techniques of cadence, tonal presentation, modulation, alteration).
2) It is no less useful when analyzing a particular work to require students to find and somehow decipher the most interesting and significant "news" and individual features in its harmonic presentation.
3) It is advisable to collect several vivid and memorable examples of harmonic writing or to find “leitharmonies”, “leitkadanses”, etc., characteristic of certain composers (the works of L. Beethoven, R. Schumann, F. Chopin, R. Wagner, F. Liszt, E. Grieg, K. Debussy, P. Tchaikovsky, N. Rimsky-Korsakov, A. Scriabin, S. Prokofiev, D. Shostakovich).
4) Also instructive are the tasks for a comparative description of the method of applying outwardly similar techniques in the work of various composers, such as: diatonicity in L. Beethoven and the same diatonicity in P. Tchaikovsky, N. Rimsky-Krrsakbva, A. Scriabin, S. Prokofiev; sequences and their place in L. Beethoven and F. Chopin, F. Liszt, P. Tchaikovsky, N. Rimsky-Korsakov, A. Scriabin; harmonic variation in M. Glinka, N. Rimsky-Korsakov, M. Balakirev and the same in L. Beethoven, F. Chopin, F. Liszt; arrangements of Russian lingering songs by P. Tchaikovsky, N. Rimsky-Korsakov, A. Lyadov, "S. Lyapunov; L. Beethoven's romance "Over the Gravestone" and tonal plans typical of F. Chopin and F. Liszt in major thirds; Phrygian cadence in Western and Russian music, etc.
It goes without saying that successful mastery of the most important techniques, methods and techniques of harmonic analysis is possible only with the great and constant help of the leader and systematic training in harmonic analysis in the classroom. Written analytical work, well thought out and regulated, can also be of great help.

Perhaps it will not be superfluous to remind once again that with any analytical tasks - more general and relatively in-depth - it is necessary to maintain a lively contact with direct musical perception. To do this, the analyzed work is played more than once, but is played or listened to both before analysis and necessarily after analysis - only under this condition will the analysis data acquire the necessary credibility and force of an artistic fact.

I. Dubovsky, S. Evseev, I. Sposobin, V. Sokolov. Harmony textbook.

The music program is the only one of all school programs that has an epigraph: “Musical education is not the education of a musician, but, above all, the education of a person”(V.A. Sukhomlinsky).
How to organize the process of learning music so that, by studying the laws of musical art, developing the musical creativity of children, effectively influence the education of the individual, his moral qualities.
When working on a piece of music in the process of all forms of communication with music (be it listening, singing, playing children's musical instruments, etc.), a holistic analysis of a piece of music (a section of musical pedagogy) is the most vulnerable and difficult.
The perception of a piece of music in the classroom is a process of spiritual empathy based on a special state of mind and mood. Therefore, on how the analysis of the work is carried out, it largely depends on whether the sounded music will leave a mark in the soul of the child, whether he will have a desire to turn to it again or hear a new one.
A simplified approach to the analysis of music (2-3 questions: What is the work about? What is the nature of the melody? Who wrote it?) creates a formal relationship to the work being studied, which is subsequently formed in students.
The complexity of conducting a holistic analysis of a musical work lies in the fact that in the process of conducting it, an active life position of the children should be formed, the ability, together with the teacher, to trace how art reveals life and its phenomena with its specific means. A holistic analysis should become a means of developing musicality, the aesthetic and ethical aspects of the personality.

Firstly, you need to clearly define for yourself what it is.
A holistic analysis of the work helps to determine the links between the figurative meaning of the work and its structure and means. Here is the search for special features of the expressiveness of the work.
The analysis includes:
- clarification of the content, ideas - the concept of the work, its educational role, contributes to the sensory knowledge of the artistic picture of the world;
- determination of the expressive means of the musical language, which contribute to the formation of the semantic content of the work, its intonational, composer and thematic specificity.

Secondly, the analysis takes place in the process of dialogue between the teacher and the students with the help of a series of leading questions. The conversation about the listened work will go in the right direction only when the teacher himself clearly understands the features of the content and form of the work, as well as the amount of information that needs to be communicated to students.

Thirdly, the peculiarity of the analysis is that it must alternate with the sound of the music. Each facet of it must be confirmed by the sound of music performed by the teacher or a phonogram. A huge role here is played by the comparison of the analyzed work with others - similar and different. Using the methods of comparison, comparison or destruction, which contribute to a more subtle perception of various nuances, semantic shades of music, the teacher clarifies or confirms the students' answers. Here you can compare different types of art.

Fourth, the content of the analysis should take into account the musical interests of the children, the level of their preparedness for the perception of the work, the degree of their emotional responsiveness.

In other words, the questions asked during the work should be accessible, specific, appropriate to the knowledge and age of the students, logically consistent and consistent with the topic of the lesson.
should not be underestimated and teacher behavior both at the moment of perception of music and during its discussion: facial expressions, facial expressions, minor movements - this is also a peculiar way of analyzing music, which will help to feel the musical image more deeply.
Here are sample questions for a holistic analysis of the work:
-What is this piece about?
-What would you name it and why?
-How many heroes are there?
-How do they work?
-What are the characters like?
-What are they teaching us?
Why does music sound exciting?

Or:
-Do you remember your impressions of this music received at the last lesson?
What is more important in a song - the melody or the lyrics?
What is more important in a person - the mind or the heart?
- Where could it sound in life and with whom would you like to listen to it?
- What did the composer experience when he wrote this music?
What feelings did he want to convey?
- Have you heard such music in your soul? When?
- What events in your life could you associate with this music? What means does the composer use to create a musical image (to determine the nature of the melody, accompaniment, register, dynamic shades, mode, tempo, etc.)?
-What is the genre ("whale")?
-Why did you decide that?
-What is the nature of the music?
-Composer or folk?
-Why?
-What draws heroes brighter - melody or accompaniment?
-What instrument timbres does the composer use, for what, etc.

The main thing when compiling questions for a holistic analysis of a work is to pay attention to the educational and pedagogical basis of the work, to clarify the musical image, and then to the means of musical expression, with the help of which they are embodied.
It should be remembered that the analysis questions for students of primary and secondary school age are different, since the level of their knowledge and psychological and pedagogical characteristics have a significant difference.
Primary school age is the stage of accumulation of empirical experience, emotional and sensory attitude to the outside world. The specific tasks of aesthetic education are the development of the ability of a holistic, harmonious perception of reality, the moral, spiritual world by activating the emotional-sensory sphere; ensuring psychological adaptation to music as an art form and a subject of study; development of practical skills of communication with music; enrichment with knowledge, stimulation of positive motivation.
The most important psychological and pedagogical characteristic of middle school age is a vivid manifestation of subject-shaped interpretation, which begins to prevail over the emotionality of perception, intensive moral formation of the personality. The attention of adolescents begins to attract the inner world of a person.
Let us consider specific examples of options for conducting a musical and pedagogical analysis of the studied works.
"Marmot" by L. Beethoven (2nd grade, 2nd quarter).
What mood did you feel in this music?
-Why does the song sound so sad, who is it about?
- What "whale"?
-Why do you think so?
-What tune?
-How does she move?
-Who sings the song?
Enrich the perception and understanding of L. Beethoven's music by examining the painting "Savoyar" by V. Perov.
- Imagine that you are an artist. What picture would you paint while listening to the music "Marmot"? (,)
"Night" from the ballet "The Little Humpbacked Horse" by R. Shchedrin (3rd grade).
The children can be given homework the day before: draw a picture of the night from P. Ershov's fairy tale "The Little Humpbacked Horse", learn and read a fragment of the description of the night. After checking the assignment in the lesson, we talk about the following questions:
-How should the music sound to convey the night from the fairy tale "The Little Humpbacked Horse"? Now listen and tell me, is this the night? (Listening to the recording performed by the orchestra).
-Which of our musical instruments would be suitable to accompany this music? (Students choose from the proposed tools the one that is more suitable).
We listen to its sound and think why its timbre is in tune with the music. ( Performance in an ensemble with a teacher. Determine the nature of the work. We make sure that the music is smooth, melodious).
What genre does the smooth, melodious music correspond to?
-Can this piece be called a "song"?
-The play "Night" is like a song, it is smooth, melodious, songlike.
- And the music, imbued with melodiousness, melodiousness, but not necessarily intended for singing, is called song.
"Kitten and Puppy" T. Popatenko (Grade 3).
-Did you like the song?
-What would you name her?
-How many heroes are there?
-Who is mustachioed and who is furry, why did you decide so?
-Why do you think the song was not called "Cat and Dog"?
-What happened to our heroes and why, what do you think?
- Did the guys seriously “slap” and “slap” our heroes or slightly?
-Why?
-What does the story that happened with the kitten and the puppy teach us?
-Are the guys right when they invited the animals to the holiday?
-What would you do in the place of the guys?
-What is the nature of the music?
-Which part of the work characterizes the characters more vividly - the introduction or the song itself, why?
-What does the melody of a kitten and a puppy represent, how?
-If you could compose music, what kind of work would you compose on these verses?
The next stage of work on the piece is a piece-by-piece comparison of the performing plan for the development of music, and the means of musical expression (tempo, dynamics, the nature of the movement of the melody) will help to find the mood, figurative and emotional content of each verse.
“Waltz is a joke” by D. Shostakovich (grade 2).
-Listen to the piece and think about who it is intended for. (… For children and toys: butterflies, mice, etc.).
What can they do with this kind of music? ( Dancing, spinning, fluttering ...).
- Well done, everyone heard that the dance is for little fairy-tale heroes. What dance are they dancing? ( Waltz).
-Now imagine that you and I ended up in a fabulous flower city from a fairy tale about Dunno. Who could waltz like that there? ( Bell girls, in blue and pink skirts, etc.).
-Did you notice who appeared at our flower ball, except for the bell girls? ( Of course! This is a large beetle or a caterpillar in a tailcoat.)
-And I think it's Dunno with a big pipe. How does he dance - as easy as the bell girls? ( No, he is terribly clumsy, stepping on his feet.)
- What's the music like here? ( Funny, clumsy).
-And how does the composer feel about our Dunno? ( laughs at him).
- Did the composer's dance turn out to be serious? ( No, joking, funny).
-What would you name it? ( Funny waltz, bell dance, comic dance).
- Well done, you heard the most important thing and guessed what the composer wanted to tell us. He called this dance - "Waltz - a joke."
Of course, the analysis questions will alternate and vary, accompanied by the sound of music.
So, from lesson to lesson, from quarter to quarter, material on the analysis of works is systematically collected and consolidated.
Let's dwell on some works and topics from the 5th grade program.
"Lullaby of the Volkhova" from the opera "Sadko" by N. Rimsky-Korsakov.
Before the children get acquainted with the music of the Lullaby, you can turn to the history of the creation and content of the opera.
-I will tell you the Novgorod epic ... (the content of the opera).
The wonderful musician-storyteller N.A. Rimsky-Korsakov was in love with this epic. He embodied the legends about Sadko and Volkhov in his epic opera "Sadko", created a libretto based on fairy tales and epics about a talented gusler and expressed his admiration for national folk art, its beauty, nobility.

Libretto- this is a brief literary content of a musical performance, a verbal text of an opera, an operetta. The word "libretto" is of Italian origin and literally means "little book". The composer can write the libretto himself, or he can use the work of a writer - librettist.

A conversation about Lullaby can be started by thinking about the role of Volkhova in revealing the main idea of ​​the opera.
-The beauty of the human song captivated the sorceress, awakened love in her heart. And the heart warmed by caress helped Volkhova to put together her song, similar to the one that people sing. Volkhova is not only a beauty, but also a sorceress. Saying goodbye to the sleeping Sadko, she sings one of the most affectionate human songs - "Lullaby".
After listening to the "Lullaby" I ask the guys:
-What character traits of Volkhova does this simple, ingenuous melody reveal?
- Is it close to a folk song in terms of melody, text?
What music does it remind of?
What means does the composer use to create this musical image? ( Describe the theme, form, intonation of the work. Pay attention to the intonation of the chorus.)
When listening to this music again, pay attention to the timbre of the voice - coloratura soprano.
In the course of the conversation, one can compare two different musical portraits of two characters: Sadko ("Sadko's Song") and the Volkhovs ("Volkhov's Lullaby").
To recreate the artistic and emotional background, consider I. Repin's painting "Sadko" with the guys. In the next lesson, you can use materials related to the creative directions of the composer, interesting information from the history of the creation of a particular work. All this is a necessary background for deep getting used to the intonation structure of music.
Symphony in B - minor No. 2 "Bogatyrskaya" by A. Borodin.
We listen to music. Questions:
-What is the nature of the work?
-What heroes did you "see" in music?
- With the help of what means was music able to create a heroic character? ( There is a conversation about the means of expressiveness of music: the definition of register, mode, analysis of rhythm, intonation, etc..)
What is the difference and similarity between the 1st and 2nd themes?
Demonstrating illustrations of the painting "Three Heroes" by V. Vasnetsov.
How are music and painting similar? ( character, content).
- With the help of what is the heroic character expressed in the picture? ( Composition, color).
- Is it possible to hear the music of "Bogatyrskaya" in the picture?

You can make a list of expressive means of music and painting on the board:

Do we need heroes in our life? How do you imagine them?
Let's try to follow the movement of the teacher's thought, observing the process of searching for the truth by him and his students.

Lesson in the 6th grade, 1 quarter.
At the entrance to the classroom sounds in the recording "Waltz" by J. Brel.
- Hello guys! I am very glad that we are starting today's lesson in a good mood. Joyful mood - why? The mind did not understand, but smiled! Music?! And what can you say about her, that she is joyful? ( Waltz, dance, fast, uplifting, such a motive - there is joy in it.)
Yes, it's a waltz. What is a waltz? ( This is a joyful song, a little funny to dance together).
- Do you know how to waltz? Is this modern dance? I'll show you the photos now, and you try to find the one on which the waltz is being danced. ( Children are looking for a photo. At this moment, the teacher begins to play and sing the song "Waltz about the Waltz" by E. Kolmanovsky, as if for himself. The guys find photographs, explaining the choice by the fact that the people depicted in them are dancing, spinning. The teacher attaches these photos to the blackboard and next to them is a reproduction from the picture, which depicts Natasha Rostova at her first ball:
This is how the waltz was danced in the 19th century. "Waltz" in German means to rotate. You are absolutely correct in your choice of photos. ( Sounds 1 verse of the song "Waltz about the Waltz" performed by G. Ots).
-Lovely song! Guys, do you agree with the author of the lines:
- The waltz is outdated, - someone says, laughing,
Century saw in him backwardness and old age.
Shy, timid, my first waltz is coming.
Why can't I forget this waltz?
Does the poet only talk about himself? ( We agree with the poet, the waltz is not only for old people, the poet speaks about everyone!)
-Every person has their first waltz! ( The song "School years" sounds»)
-Yes, this waltz sounds on September 1, and on the holiday of the last call.
- “But secret, he is always and everywhere with me…” - Waltz is something special. (Just a waltz is waiting for its time when it is needed!)
- So, it lives in the soul of every person? ( Of course. Young people can also waltz.)
- Why is it “concealed” and not completely disappeared? (You won't always dance!)
- Well, let the waltz wait!
Learning verse 1 of the song "Waltz about the Waltz".
-Many composers wrote waltzes, but only one of them was named the king of the waltz. (A portrait of I. Strauss appears). And one waltz of this composer was performed as an encore. 19 times. Imagine what kind of music it was! Now I want to show you the music of Strauss, only play it, because the symphony orchestra should play it, perform it. Let's try to solve the Strauss riddle. ( The teacher plays the beginning of the Blue Danube waltz, a few bars.)
-The introduction to the waltz is some kind of big secret, an extraordinary expectation that always brings more joy than even some kind of joyful event itself ... Did you have the feeling that during this introduction the waltz could start many times? Joy waiting! ( Yes, many times!)
- Think, guys, where did Strauss get his melodies from? ( Sounds intro in development). Sometimes it seems to me, when I listen to a Strauss waltz, that a beautiful box opens and contains something unusual, and the introduction only slightly opens it. It seems that now - already, but again a new melody sounds, a new waltz! This is the real Viennese waltz! It's a chain of waltzes, a necklace of waltzes!
-Is this a salon dance? Where is it danced? (Probably everywhere: on the street, in nature, you just can’t resist.)
- Absolutely right. And what are the names: “On the beautiful blue Danube”, “Viennese voices”, “Tales of the Vienna forest”, “Spring voices”. Strauss wrote 16 operettas, and now you will hear a waltz from the operetta Die Fledermaus. And I ask you to answer in one word, what is a waltz. Just don't tell me it's a dance. (Waltz sounds).
-What is a waltz? ( Joy, miracle, fairy tale, soul, mystery, charm, happiness, beauty, dream, cheerfulness, thoughtfulness, affection, tenderness).
- Is it possible to live without all that you have named? (Of course not!)
- Only adults can't live without it? ( The boys laugh and nod their heads.
- For some reason I was sure that after listening to the music you would answer me that way.
-Listen to how the poet L. Ozerov writes about Chopin's waltz in the poem "Waltz":

- The seventh waltz still sounds in my ears a light step
Like a spring breeze, like the flutter of bird wings,
Like the world that I discovered in the interweaving of musical lines.
That waltz still sounds in me, like a cloud in blueness,
Like a spring in the grass, like a dream that I see in reality,
Like the news that I live in kinship with nature.

The guys leave the class with the song "Waltz about the Waltz."
A simple approach has been found: to express one's feeling, one's attitude to music in one word. No need to say, like in first grade, that this is a dance. And the power of Strauss's music gives such a stunning result in a lesson in a modern school that it seems that students' answers can go for 20 encores to a composer of the last century.

Lesson in the 6th grade, 3rd quarter.
Children enter the classroom under the "Spring" by Mozart.
-Hello guys! Sit comfortably, try to feel as if you were in a concert hall. By the way, what is the program of today's concert, who knows? At the entrance to any concert hall, we see a poster with a program. Our concert is no exception, and at the entrance you were also greeted by a poster. Who paid attention to her? (...) Well, don't be upset, you were probably in a hurry, but I read it very carefully and even remembered everything that was written on it. It was not difficult to do this, since there are only three words on the poster. I will now write them on the board, and everything will become clear to you. (I write: "Sounds").
- Guys, I thought that I would add the other two words later with your help, but for now, let the music sound.
Mozart's "Little Night Serenade" is performed.
How did this music make you feel? What can you say about her ? (Light, joyful, happy, dancing, majestic, sounds at the ball.)
-We got to a concert of modern dance music? ( No, this music is old, probably from the 17th century. It looks like they are dancing at a ball).
- What time of day were the balls held? ? (Evening and night).
- This music is called “Little Night Serenade”.
-How did you feel if this music is Russian or not? ( No, not Russian).
- Which of the composers of the past could be the author of this music? (Mozart, Beethoven, Bach).
-You named Bach, probably remembering "The Joke". ( I play the tunes of "Joke" and "Little Night Serenade").
-Very similar. But in order to assert that the author of this music is Bach, one must hear in it a different warehouse, as a rule, polyphony. (I play the melody and accompaniment of the “Little Night Serenade”. The students are convinced that the music of the homophonic warehouse is the voice and accompaniment.)
-What do you think about the authorship of Beethoven? (Beethoven's music is strong, powerful).
The teacher confirms the words of the children by sounding the main intonation of the 5th symphony.
-Have you ever met Mozart's music before?
-Can you name the works you know? ( Symphony No. 40, "Spring Song", "Little Night Serenade").

The teacher plays the topics ...
-Compare! ( Light, joy, openness, airiness).
- This is really the music of Mozart. (On the board to the word " Sounds like"I add:" Mozart!)
– Now, remembering Mozart's music, find the most accurate definition of the composer's style, the features of his work. . (-His music is tender, fragile, transparent, bright, cheerful…- I do not agree that it is cheerful, it is joyful, this is a completely different feeling, deeper. You cannot live cheerfully all your life, but a feeling of joy can always live in a person ... - Joyful, bright, sunny, happy.)
- And the Russian composer A. Rubinshtein said: “Eternal sunshine in music. Your name is Mozart!
-Try to sing the melody of the "Little Night Serenade" in character, in the style of Mozart.(...)
-And now sing "Spring", but also in the Mozart style. After all, how the performers, in the role of which you will now act, will feel and convey the style of the composer, the content of the music, depends on how the audience will understand the piece of music, and through it the composer. ( Performed "Spring" by Mozart).
-How do you rate your performance? ( We tried very hard.)
-Mozart's music is very dear to many people. The first Soviet People's Commissar for Foreign Affairs, Chicherin, said: “There was a revolution and Mozart in my life! The revolution is the present, but Mozart is the future!” 20th century revolutionary names 18th century composer future. Why? And do you agree with this? ( Mozart's music is joyful, happy, and a person always dreams of joy and happiness.)
- (referring to the board) Our imaginary poster is missing one word. It characterizes Mozart through his music. Find this word. ( Eternal, today).
-Why ? (People need Mozart's music today and will always need it. In contact with such beautiful music, a person himself will be more beautiful, and his life will be more beautiful).
-Would you mind if I write this word like this - " ageless"? (Agree).
On the board is written: It sounds like an ageless Mozart!”
The teacher plays the initial intonations of "Lacrimosa".
- Is it possible to say about this music that it is sunlight? ( No, this is darkness, sorrow, as if the flower has withered.)
-In what sense? ( It's like something beautiful has gone.)
-Could Mozart be the author of this music? (No!.. And perhaps it could. After all, the music is very gentle, transparent).
- This is Mozart's music. The work is unusual, as is the story of its creation. Mozart was seriously ill. One day a man came to Mozart and, without naming himself, ordered the "Requiem" - a work that was performed in the church in memory of a deceased person. Mozart set to work with great inspiration, without even trying to find out the name of his strange guest, in the absolute certainty that this was none other than a harbinger of his death and that he was writing the Requiem for himself. Mozart conceived 12 movements in Requiem, but before completing the seventh movement, Lacrimosa (Tearful), he died. Mozart was only 35 years old. His early death is still a mystery. There are several versions about the cause of Mozart's death. According to the most common version, Mozart was poisoned by the court composer Salieri, who allegedly envied him very much. This version was believed by many. A. Pushkin devoted one of his little tragedies to this story, which is called “Mozart and Salieri”. Listen to one of the scenes of this tragedy. ( I read the scene with the words “Listen, Salieri, my “Requiem! ...” ... It sounds like “Lacrimosa”).
- It is difficult to speak after such music, and, probably, it is not necessary. ( display on the board).
- And this, guys, is not just 3 words on the board, this is a line from a poem by the Soviet poet Viktor Nabokov, it begins with the word “Happiness!”

-Happiness!
Sounds like an ageless Mozart!
I am unspeakably fond of music.
Heart in a fit of high emotions
Everyone wants goodness and harmony.

- In conclusion of our meeting, I want to wish both you and myself that our hearts do not get tired of giving goodness and harmony to people. And let the ageless music of the great Mozart help us in this!

Lesson in 7th grade, 1st quarter.
In the center of the lesson is Schubert's ballad "The Forest King".
-Hello guys! Today we have new music in the lesson. Is a song. Before it runs out, listen to the opening theme. ( I play).
-What feeling does this theme evoke? What image does it create? ( Anxiety, fear, expectation of something terrible, unforeseen).
The teacher plays again, focusing on 3 sounds: D - B-flat - G, playing these sounds smoothly, coherently.(Everything changed at once, alertness and expectation disappeared).
- Okay, now I'll play the whole intro. Will there be something new in anticipation of the image? ( Anxiety increases, tension, probably, something terrible is being told here, and the repeated sounds in the right hand are, as it were, an image of a chase.)
The teacher draws the attention of the children to the name of the composer written on the board - F. Schubert. He does not speak about the title of the work, although the song sounds in German. ( Soundtrack sounds.)
-The song is built on the development of the intro image already familiar to us? ( No, different intonations).
The second appeal of the child to the father sounds (intonation of request, complaint).
Children: - A bright image, calm, lulling.
- And what unites these intonations? ( The pulsation that came from the introduction is like a story about something.)
- How do you think the story ends? ( Something terrible happened, perhaps even death, as something broke off.)
-How many performers were there? ( 2 - singer and pianist).
-Who lead who is in this duet? (There are no major and minor, they are equally important).
-How many singers? ( In music, we hear several characters, but the singer is one).
- One day, friends caught Schubert reading Goethe's "Forest King" ... ( The name is pronounced and the teacher reads the text of the ballad. Then, without explanation, "The Forest King" sounds in the classroom for the 2nd time. During the listening, the teacher with gestures, facial expressions, as it were, follows the reincarnation of the performer, drawing the attention of the children to intonations, their imagery. Then the teacher draws attention to the blackboard, on which there are 3 landscapes: N. Burachik “The Dnieper is roaring and moaning”, V. Polenov “Getting cold. Autumn on the Oka, near Tarusa”, F. Vasiliev “Wet Meadow”).
What do you think, against the background of which of the landscapes offered to you could the action of the ballad take place? ( Against the background of the 1st picture).
-Now find a landscape that depicts a calm night, fog whitening over the water and a quiet, awakened breeze. ( They choose Polenov, Vasiliev, but no one chooses Burachik's painting. The teacher reads a description of the landscape from Goethe's ballad: "Everything is calm in the silence of the night, then the gray willows stand aside").
The work captured us completely. After all, in life we ​​perceive everything through our feelings: it’s good for us and everything around is good, and vice versa. And we chose the picture that, in its image, is closest to the music. Although this tragedy could have played out on a clear day. And listen to how the poet Osip Mandelstam felt this music:

-Old song world, brown, green,
But forever young
Where nightingale lindens roaring crowns
With insane fury shakes the king of the forest.

-The poet chooses the same landscape that we have chosen.

A holistic analysis of works in music lessons is needed; this work is important in the accumulation of knowledge about music, in the formation of aesthetic musical taste. It is necessary to pay more attention to the systematic and continuity in the analysis of a musical work from the 1st to the 8th grades.

Excerpts from student essays:

“... It is very interesting to listen to music without seeing the orchestra. I like, listening, to guess which orchestra, which instruments are playing. And the most interesting thing is how to get used to the work ... It often happens like this: a person does not seem to like music, does not listen to it, and then suddenly hears and loves it; and maybe for the rest of your life."

“... The fairy tale “Peter and the wolf”. In this tale, Petya is a cheerful, cheerful boy. He does not listen to his grandfather, chatting cheerfully with a familiar bird. Grandfather is gloomy, grumbles at Petya all the time, but he loves him. The duck is cheerful, loves to chat. She is very fat, walks, waddling from foot to foot. A bird can be compared with a girl of 7-9 years old.
She loves to jump and laughs all the time. The wolf is a terrible villain. Saving his skin, he can eat a person. These comparisons are clearly audible in the music of S. Prokofiev. I don’t know how others listen, but I listen like this.”

“...Recently I came home, a concert was broadcast on TV, and I turned on the radio and heard the Moonlight Sonata. I just couldn’t talk, I sat down and listened… But before, I couldn’t listen to serious music and spoke; - Oh, my God, who only invented it! Now I’m somehow bored without her!”

“... When I listen to music, I always think about what this music tells about. Difficult or easy, easy or difficult to play. I have one favorite music - waltz music.It is very melodic, soft .... "

“... I want to write that music has its own beauty, and art has its own. The artist will write a picture, it will dry. And the music will never dry!

Literature:

• Music is for children. Issue 4. Leningrad, "Music", 1981, 135p.
• A.P. Maslova, Pedagogy of art. Novosibirsk, 1997, 135s.
• Musical education at school. Kemerovo, 1996, 76s.
• Zh / l "Music at school" No. 4, 1990, 80s.

musical form (lat. form- appearance, image, outline, beauty) is a complex multi-level concept that is used in different meanings.

Its main meanings are:

- musical form in general. In this case, form is understood broadly as a category present in art (including music) always and forever;

- a means of embodying the content, implemented in a holistic organization of the elements of music - melodic motifs, mode and harmony, texture, timbres, etc.;

- a historically established type of composition, for example, canon, rondo, fugue, suite, sonata form, etc. In this sense, the concept of form approaches the concept of a musical genre;

- individual organization of a single work - a unique, unlike any other, single "organism" in music, for example, Beethoven's Moonlight Sonata. The concept of form is connected with other concepts: form and material, form and content, etc. Of paramount importance in art, as in music in particular, is the relationship between the concepts of form and content. The content of music is the inner spiritual image of the work, what it expresses. In music, the central concepts of content are the musical idea and the musical image.

Analysis scheme:

1. Information about the era, style, life of the composer.

2. Figurative system.

3. Analysis of the form, structure, dynamic plan, identification of the climax.

4. Composer's means of expression.

5. Performing means of expression.

6. Methods for overcoming difficulties.

7. Features of the accompaniment party.

Means of musical expression:

– melody: phrasing, articulation, intonation;

- invoice;

- harmony;

– genre, etc.

Analysis - in the most general sense of the word - the process of mental or actual separation of something whole into its constituent parts (analysis). This is also true in relation to musical works, their analysis. In the process of studying its emotional and semantic content and genre nature, its melody and harmony, textural and timbre properties, dramaturgy and composition are considered separately.

However, speaking of musical analysis, we also have in mind the next phase of cognition of a work, which is a combination of particular observations and an assessment of the interactions of various elements and aspects of the whole, i.e. synthesis. General conclusions can only be drawn on the basis of a versatile approach to analysis, otherwise errors, sometimes very serious ones, are possible.

It is known, for example, that the climax is the most intense moment of development. In a melody, a high-pitched sound is usually achieved during the rise, followed by a fall, a turning point in the direction of movement.

The climax plays an important role in a piece of music. There is also a general climax, i.e. main along with others in the work.

Holistic analysis should be understood in two senses:

1. As a fuller possible coverage of the work's own properties in their specific relationships.

2. The fullest possible coverage of the connections of the work in question with the diverse phenomena of historical and cultural

directions.

The training course of analysis is designed to consistently and systematically teach the ability to disassemble a piece of music. The purpose of the analysis is to reveal the essence of a musical work, its internal properties and external relations. More specifically, this means that you need to identify:

- genre origins;

- figurative content;

- typical means of embodiment for the style;

- characteristic features of their time and place in today's culture.

To achieve its goals, music analysis uses a number of specific methods:

– reliance on direct personal and public perception;

– assessment of the work in connection with specific historical

the conditions for its occurrence;

– definition of the genre and style of music;

- disclosure of the content of the work through the specific properties of its artistic form;

- wide use of comparisons, similar in expressiveness of works representing different genres and types of music - as a means of concretizing the content, revealing the meaning of certain elements of the musical whole.

The concept of musical form is considered, as a rule, in two aspects:

- the organization of the whole complex of expressive means, thanks to which a piece of music exists as a kind of content;

- scheme - type of compositional plan.

These aspects oppose each other not only in terms of the breadth of their approach, but also in terms of the interaction of the content of the work. In the first case, the form is just as individual and inexhaustible for analysis, just as the very perception of the content of the work is inexhaustible. If we are talking about the content-scheme, then it is infinitely more neutral in relation to the content. And its characteristic and typical properties are exhausted by analysis.

The structure of a work is a system of relations between elements in a given whole. Musical structure is a level of musical form in which it is possible to trace the very process of development of the compositional scheme.

If the form-scheme can be likened to the scale of the mode, which gives the most general idea about the mode, then the structure corresponds to a similar characteristic of all the gravity that exists in the work.

Musical material is that side of the sounding matter of music that exists and is perceived as a kind of meaning, and we are talking about a purely musical meaning that cannot be conveyed in any other way, and can only be described in the language of specific terms.

The characteristics of the musical material largely depend on the structure of the musical work. Musical material is quite often, but not always, associated with certain structural phenomena, which to some extent blurs the differences between the semantic and structural sides of musical sound.